Lady Girl. Miu Miu AW24

Every single morning, I decide if I am a 15-year old girl or a lady near death“, Miuccia Prada told Vogue in her recent profile. Looking at her latest Miu Miu collection, Miuccia definitely felt like the first, but with perspective of an experienced woman who has lived a LIFE. It seems that while being 74 years old, the designer has never felt that liberated creatively. She knows her codes. She knows what’s up. She’s loves to mess it up, and she understands exactly how to make the industry fall on its knees.

Again, Miu Miu is the winner of Paris Fashion Week, and the impact of the autumn-winter 2024 – styled by Lotta Volkova – will be perceivable in the way we interact with fashion for the next six months (or more!). Classics, uniforms and bourgeois staples are twisted and subverted, creating a collection just so multi-faceted and frivolous that you just can’t resist it. The show opened with shrunken coats in heavy wool, worn with cuffed slacks, mum’s pearls, and a roomy zip-top bag tucked under the arm. Capote’s “Swans“? Not really. The man-size gloves suggested the Miu Miu girl sees the world through a different lens. She’s on the ground with her two feet. Even while wearing her short little baby-doll shift dress sprinkled with strasse embroidery and lady-like wool suits paired with grey schoolgirl tights and black leather Mary Janes. “Everyone can choose from them, to be a child or a lady”, said the designer after the show, which included some models who were nearer to the designer’s age including Kristin Scott Thomas and Dr Qin (a Shanghai-based doctor and huge Prada collector). 

This season, Miu Miu – which originally in the late 90s and early 2000s meant to be Prada’s sister line – has always been like a daughter, who sometimes hates her mother’s image, and sometimes looks up to her. By mother, I mean the Prada wardrobe. Silk 1950s skirts came in so-bad-it’s-good floral prints in the most acidic shades known to human eye. Even the family heirloom “mink” coats (they were actually dyed shearling) and the kind of chic LBD’s that Audrey Hepburn might have worn in “Breakfast at Tiffany’s” weren’t just classy, they were daring, they had nonchalance of a youngster. Miuccia, I love you!

Collage by Edward Kanarecki.
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Dimmed Glamour. Ferragamo AW24

Now on his fourth collection for Ferragamo, Maximilian Davis‘ vision of the brand is coded with some distinct signifiers. Once again, Davis found inspiration in the brand’s founding decade, saying “the 1920s used clothing as a way to celebrate freedom. And that expression of freedom is something that resonates with me, my heritage, and with Ferragamo.” Visual references to the 1920s – raised hems, fluid fabrics, touches of fringe, relaxed cuts and dropped waists – reflected the “era of emancipation,” modernized with masculine cuts, utilitarian elements, and Lotta Volkova’s styling. As a result, this particular expression of freedom through clothing was one anchored in shape, with a strong focus on sleek eveningwear, drapery and structured tailoring. There were two lovely shimmering flapper dresses that appeared to be adorned with thick fish scale-style sequins, which were meticulously constructed from leather covered in a special metallic finish. Throughout, these hyperfeminine sensibilities – like sensual, sheer touches – were juxtaposed with masculine shoulders, thick knit jumpers and fisherman wader-style boots. Davis is intrigued by Old Hollywood, given Salvatore Ferragamo’s history with actresses; autumn-winter 2024 is a singular homage to ’20s icons like Joan Crawford and Greta Garbo.

Collage by Edward Kanarecki.
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Traces of Living. Miu Miu SS24

Miu Miu is the Sofia Coppola of fashion. With this brand, Miuccia Prada tells stories of girls (on the verge of womanhood) trying to navigate the fascinating, particular world we live in. The spring-summer 2024 collection, which is the cherry on top of this never-ending fashion month, explores a rationale of beauty today, beauty, that echoes the complexity of our era. Miuccia has a solution: instead of rigid paradigms, there is a radical expansion, a rich plurality. Not beauty, but beauties, an embracing of unique characters, the joy of life. With that in mind, the designer re-established the Miu Miu silhouette that’s seen recent collections fly off the shelves: skimpy hemlines expressed in knickers (worn as daywear), shorts and tiny tennis skirts paired with oversized blazers, bombers and coats. Triangular tops styled with low-slung tailored trousers continued the 2000s vibe beloved by a new generation of shoppers.

The collection was underpinned by a decidedly preppy mood that riffed on an American idea of ease: crested jackets over polo shirts over shirts worn with Bermuda shorts. There’s that intriguing “realness” about the recent Miu Miu collections. This time, Prada imbued her garments and accessories with what she called “traces of living”: marks on leathers and suedes, and fabrics that faded as if they’d been washed too many times. She called the pre-worn sensibility an expression of “existing love” demonstrated by the repeated use of clothes. A similar sensibility was reflected in the “real” styling (done wih Lotta Volkova’s assistance) of the slightly dishevelled layering of dresses, jumpsuits, cardigans and T-shirts, which evolved the barely-got-out-bed look that characterised last season’s collection. As a brilliant nod to real life, the toes of flip-flop-wearing models were adorned wore neon-coloured plasters. That sense of realness was also embrace by a diverse cast. Singer Troye Sivan flew the flag for the Miu Miu boy, while the artist Petra Collins and the photographer Eddy Aldridge wore “misfit” eveningwear. The Sofia Coppola reference perfectly materialized in the appearance of Cailee Spaeny, the actress who stars as Priscilla Presley in the latest work of the director.

Collages by Edward Kanarecki.
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Allina, The Idol. All-In SS24

This very solemn and somewhat regal Paris Fashion Week, some much-needed sass and fun was delivered by All-In. Benjamin Barron and Bror August Vestbø, the design duo behind this brand, have a habit of building their collections around imaginary characters. This season we met Allina. She might be the last real pop star (sorry, The Idol‘s Jocelyn, that’s not you), a slim, blonde diva who leans into an air-brushed kind of glamour. The collection features Allina’s merch, like a very mini tube dress featuring an image of the pop sensation. As Barron explained, the garments related a tale “about Allina’s fall from fame, so it starts off with her as the ideal form of herself, but then things start to unravel as she ages.” The sense of things coming apart was conveyed by a black sequin décolleté and backless minidress with diamanté trim that used negative space to dramatic effect. It looked as if it had been cut away from the top of the thigh to below the knee; a piece of fabric hanging from the back of the skirt connected the top half of the look to the bottom. Allina’s “attachment” issues were illustrated by the looks that had hangers attached, from which hung vintage slips that were more granny than glam, to chart the diva’s aging and fall from fame. Said Vestbø: “We used a lot of mixed materials that felt a bit pop star Las Vegas, like crystals and sparkles and short skirts with these kind of old woman references, like the tin cans or long nightgowns. There’s also a powder puff.” These assemblages also played with the concept of putting up a facade, which was also addressed in a more immediately relatable way in the sweater dress worn by Delfine Bafort. The hem had been extended and only the front was attached to the body of the sweater, which was worn on top of the body. It was suspended by ropes of pearls at the neck, leaving it backless, and the model’s hands slipped through the cuffs, creating a batwing effect. The result was a sort of paper-doll flatness that was very intriguing. Up until this point, All-In’s practice has had Surrealist touches and collage. Helping to ground All-In a bit as it prepares for growth, Lotta Volkova, who has modeled for the brand, worked with Barron and Vestbø on the creation and styling of this campy, bitter-sweet collection.

Collage by Edward Kanarecki.
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I See Angels. Blumarine SS24

This week, angels (and swarms of butterflies) landed on the Blumarine spring-summer 2024 runway, which itself was surprisingly a white box setting. This is minimal according to Nicola Brognano, who this season leaves behind the bold pinks and indulges in shades of neutrals and… nakedness. “I just felt it was time for more light, more lightness, more butterflies”. Butterflies, which in a previous collection were emblazoned on a skimpy top, came out in force this season, together with a parade of feathered wings. Butterflies are synonymous with frivolity. And angels, well, they’re angels. Blumarine’s were languid, lanky, handsome winged Adonises strutting down the catwalk in low-rise gold-leather trousers from which emerged smooth, naked torsos dusted with glitter. Brognano’s singular idea of purity and airy luminosity expanded into other literal translations: colors were pale, jerseys were flimsy like hosiery, ribbons and trains trailed breezily on the back of ultra-short sexy numbers. Bustiers and pencil skirts in clear PVC, studded with an abundance of rhinestones and crystals, were the pinnacle of Blumarine’s ode to very naked lightness. They didn’t leave anything to the imagination.To make the waters even murkier, models walked to the beat of The Idol’s Lily-Rose Depp’s World Class Sinner/I’m A Freak.

Collage by Edward Kanarecki.
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